DSLR – Pentax Body

I have just received the latest issue of Digital Camera magazine (UK) via my subscription, so it should hit the shops in a few days. In New Gear section there is an interesting review of Pentax K-7. The Pentax is praised for its features, noise levels, skin tones in the photos, metering and handling. All together it was rated at 87%, which is not bad (only the price is too high) as you can rarely see any ratings higher than 90%. The scoring was:

1. Features – 5 stars
2. Performance – 4 stars
3. Handing – 4 stars
4. Build quality – 4 stars
5. Value for money – 4 stars.

This was of course based on pre-production model. As Pentax has just confirmed that they will be changing the sensor in the final product, we can expect pretty capable camera. Excited? Related news: http://www.1001noisycameras.com/2009/06/pentax-k7-modified-sensor-in-the-production-units-lets-all-hit-the-reset-button.html www.amateurphotographer.co.uk Kamil Wawrzyszko

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Please, leave comments and share other interesting films/videos you come across.

Order now this amazing camera from Amazon US by clicking on the invisible link below:

Pentax K-7 at www.Amazon.com

Enjoy

Kamil Wawrzyszko

Pentaxian

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Section		The Good	The Bad
	Product Tour	Compact body with solid construction; low price for complete package	Plastic material not as rugged as more expensive SLRs
	Color	Solid resolution and image noise test results	Poor color accuracy, slow burst mode
	Noise	Handled noise well in both bright and dim illumination	Confusing noise reduction level labeling
	Resolution	Impressive overall, with good sharpness and minimal distortion	Sharpness suffers noticeably at small aperture settings
	White Balance	Automatic white balance very accurate for fluorescent and daylight illumination	Auto WB doesn’t handle incandescent lighting well
	Playback	Good selection of image display options; extensive filter selection for in-camera editing	Screen slightly small and low-res for image review purposes
	Hardware	Well built, substantial camera; good control panel function on LCD; external flash provided as part of kit	No Live View; plastic mount on kit lens; external flash lacks bounce or swivel capability
	Controls	Digital Preview interactively shows results of settings changes; extensive scene mode selection; finely adjustable shooting modes	No depth of field preview; no way to cover viewfinder for tripod shooting
	Design & Handling	Lightweight and highly portable; decent rubberized grip; built-in help system	Slightly small for large-handed shooters; menu system sometimes confusing
	Speed & Timing	Fast start-up	Mediocre burst mode

Color Accuracy (12.86)

The Pentax K2000 reproduced color less accurately than the other cameras in our comparison group, but the results still fall within an acceptable range. Our test images were slightly oversaturated, and while flesh tone reproduction was very good, blue shades were noticeably off-color, with yellows and oranges also problematic.

What we’re testing here is color accuracy, not color attractiveness. The K2000, like many SLRs, offers a variety of color modes to let the user match color reproduction to the tones he or she finds most pleasing. For our lab testing purposes, though, we shoot the standard X-Rite ColorChecker chart and use Imatest to determine which of these modes produces the least color error. That’s the one we use all of our color accuracy testing. For more information on our color testing procedures, see the How We Test section here.

For the Pentax, there are five color modes plus monochrome, and the one called Natural produced the best results, with a mean color error of 2.88 and a mean saturation of nearly 108%. It’s interesting to note that Natural is not the default setting for the camera. It’s set to shoot in Bright mode out of the box, which produces even more intense shades.

It’s important to note here that the group of cameras chosen for comparison here is based on the models we’ve tested under the updated review procedures we instituted in January 2009. For this reason, several inexpensive cameras which compete directly with the Pentax K2000 aren’t included.

With the noise reduction cranked up to maximum levels, the spike at ISO 400 which we saw with noise reduction off is more pronounced than with the other cameras in our testing, but overall image noise remains well under control. As seen in the chart below, the Pentax K2000 holds its own against the competition here.

Noise Score Comparison

The Pentax K2000 delivers 10.2-megapixel resolution, a fairly modest figure by today’s SLR standards. What we’re most concerned about, though, isn’t the number of dots but the bottom-line quality of the photo taken, which combines the effects of the image sensor itself, the lens optics and the image processing that takes place. In this testing, the K2000 did exceptionally well, especially for a $600 camera with a kit lens. We found very little distortion, minimal chromatic aberration and image sharpness with many strengths and only a few trouble spots.

We test the three aspects of overall resolution performance mentioned above, but based the scoring for SLRs on only chromatic aberration and sharpness, since the distortion performance will vary widely depending on the lens used. Shooting is done under bright studio lighting at three focal lengths (maximum, minimum and midpoint), and at three aperture settings for each focal length (again, the largest, smallest and the one in the middle). For details on our resolution testing process, see the How We Test section here.

Distortion
Overall the Pentax K2000 performed very well in our distortion tests. The only significant problem occurred at the 18mm focal length, where we found an average barrel distortion of 2.08%. Moving out to 35mm there was only a trace amount of pincusion distortion, at 0.48%. And at the maximium focal length, pincushion distortion rose to 0.90%, still a very impressive performance from the kit lens on an inexpensive camera.

Chromatic Aberration (8.02)
Here again, the Pentax K2000 more than held its own. achieving a higher score for chromatic aberration than the Sony A900 we tested using a 24-105mm lens that costs as much as the entire K2000 kit. As seen in the images below, the most notable flaws occurred at the 18mm focal length, where there is significant horizontal chromatic aberration from the midpoint to the edges of the image. This flaw largely corrected itself by the time we zoomed out to 35mm, to the point where it wouldn’t cause visible problems even at substantial magnification. With this single exception, chromatic aberration is well controlled across the lens.

Sharpness (11.25)
We found the sweet spot for the 18-55mm kit lens when shooting at the 35mm focal length at f/11, where the lens delivered 1638 lw/ph horizontally and 2098 vertically.

In the charts below, we show actual-size crops taken from the test chart photos at each focal length. As you can see, at 18mm, there’s some noticeable chromatic aberration at the edges of the image, and the image softens noticeably across the board when the lens is stopped down to f/22, but the center is tack-sharp until that point.

When compared to the other cameras in our test group, the Pentax holds a significant advantage over the Canon Rebel XS in the same price range, and does well in a head-to-head comparison with the $1000 Nikon D90. The Olympus E-30 is again the outlier in the group, lowest in image noise by a hefty margin but posting superb resolution scores.

Resolution Score Comparison

Picture Quality & Size Options (8.65)

The number of available file sizes is limited to just three:

There are three JPEG quality settings, Best, Better and Good. When shooting uncompressed RAW files there is a choice of two file formats, Pentax’s own PEF files or the standard DNG RAW file format. RAW images can be saved on their own, or with a simultaneous JPEG copy.

Dynamic Range (8.62)

The Pentax 2000 performed well in our dynamic range testing. Four out of five cameras in our comparison suite scored within a hair’s breadth of one another in this test and, while the Pentax was statistically the lowest of these four, the difference is inconsequential in real-world effect.

Our tests for dynamic range are conducted by shooting a standard 20-patch Kodak Gray Scale chart under controlled 3000-lux illumination, shooting at each available ISO at a range of aperture settings. The resulting images are analyzed using Imatest software to determine how well the tested camera can maintain detail in dark areas and reproduce highlights without blowing them out. For further details about our dynamic range testing process, read the How We Test section here.

Dynamic Range

Dynamic range inevitably decreases as ISO settings increase, but for the K2000 the effect is smooth and gradual. The camera starts out at ISO 100 with over seven stops of dynamic range, barely dips below 6 stops at ISO 400 and still produces a respectable result into the noisy realm of ISO 3200 shooting.

Dynamic Range Comparison

The chart above shows the relative dynamic range results for our five comparison cameras shooting at ISO 200. Aside from the Olympus, the others all display very similar dynamic range performance here.

The Olympus had noise problems across the board, and at extreme ISOs produced photos which were simply unusable, which explains its poor performance. The scores each camera received in each section are shown below; a longer bar indicates a higher score.

Dynamic Range Score Comparison

Image Stabilization (4.64)

The Pentax K2000, like Olympus and Sony SLRs, has image stabilization built in to the body of the camera. This contrasts with the approach taken by Nikon and Canon, who build image stabilization into individual lenses, which are more expensive than similar lenses without stabilization. The benefit of the Pentax approach is that any lens you mount on the camera can take advantage of image stabilization… when there is an advantage. In our lab testing, we discovered that the Pentax system offers modest improvement where it counts the most, when shooting at shutter speeds of 1/30 second or lower. At higher shutter speeds, though, the results are hit-and-miss. In many instances, engaging the image stabilization system produced blurrier photos than turning it off.

Our image stabilization testing is conducted using a custom-made rig that precisely shakes the camera in a pre-determined pattern, under computer control. With the test subject mounted in the device, we shoot at two different levels of shake, taking multiple images at all shutter speeds between 1/500 and 1/8 second. Horizontal and vertical shake are tested separately. The resulting photos are processed using Imatest to determine image sharpness, and these results statistically analzyed to determine the effectiveness of the image stabilization system. For details on our image stabilization testing process, see the How We Test section here.

When subjected to a modest level of shake — roughly what we’d expect from an individual when holding the camera steady with two hands — we found that horizontal shake improvement was negligible at shutter speeds below 1/30 second. In the vertical direction, image stabilization offered an improvement at the fastest 1/500 second speed tested, but caused a loss of sharpness for the remaining range until we reach 1/15 second, where some advantage kicks in.

The second phase of our test increases the level of shake until it represents what you’d experience when trying to grab a shot one-handed, or when walking. Here we see a similar pattern to our low-shake test. At the highest shutter speed the sharpness is better with image stabilization turned on, but from that point on it’s causing a dip in image quality until we get to the 1/30 second level.

Bottom line, the Pentax K2000 image stabilization system is consistently inconsistent: that is, it sometimes improves sharpness, sometimes detracts from it, but in roughly the same pattern whether you are fairly steady or moving around quite a bit, and on both the horizontal and vertical axes. Our recommendation: turn the system on if you’re shooting indoors without flash or at night, but leave it off otherwise.

The following table shows actual-size crops from photos taken for testing, chosen to demonstrate the relative effect of the image stabilization system  at different shutter speeds and shake levels.

White Balance (13.83)

The overall white balance score combines the results of our preset and custom white balance testing. The K2000 showed some significant muscle here, outperforming both the Nikon D90 and Olympus E-30 to a significant degree, and bested only by the exceptionally accurate Canon 50D.

White Balance Score Comparison

LCD (4.40)

The LCD is a bit scrawny by current standards, measuring 2.7 inches with 230,000-dot resolution, though this is not the worst area for cost-cutting. At least the screen is bright and displays colors accurately. The viewing angle is fairly limited, but with no Live View mode, you’re not going to be looking at the LCD from odd angles while shooting anyway.

Both the brightness and the color reproduction of the LCD can be adjusted through the menu system. There are 15 possible brightness levels, with a black-to-white gradient displayed on the setting screen so you can judge the effect of your adjustment. As for tuning the color, you can tweak the screen along the green-magenta and/or blue-amber axes, with 15 available settings on each.

When shooting, the LCD displays a full-screen settings summary, as shown below. It’s a decent screen layout, though we would have preferred to see the individual settings appear larger, even if that meant shrinking the top section (with shooting mode, shutter speed, aperture, remaining exposures and battery life). If you prefer not to have this screen displayed, it can be toggled off by pressing the INFO button (the LCD can be annoyingly bright when you hold the camera up to your eye, and there’s no automatic sensor to turn it off as you’ll find on some SLRs). The camera is kind of stubborn about this display, though: every time you depress and release the shutter button (even if it’s only to focus, without taknig a shot), the screen will turn on again.

A more useful button-press is hitting the OK button, which turns the status screen into an interactive control panel. Move the cursor to highlight a setting in this mode and you can scroll through your options by turning the control dial. Or, if you prefer, press OK again and you’re taken to a menu screen listing the available settings for the options at hand.

LCD Panel
As with most inexpensive SLRs, there’s no monochrome LCD on the camera top to provide shooting information when viewed from above.

Flash (7.25)

Pentax gives the optimal range of the built-in flash as 0.7m to 5m. When shooting in Auto Pict mode there are five available flash settings: auto, forced flash, auto or forced flash with red-eye reduction enabled, and wireless mode, which can synchronize a dedicated external flash (models AF540FGZ or AF360FGZ). In Auto Pict mode and auto flash setting, the camera will pop up the flash on its own if it figures conditions require it. In the more user-controlled modes (Program, Sensitivity Priority, Shutter Priority, Aperture Priority and Manual), it’s up to the user to hit the button and raise the flash, so the on-screen menu choices are cut to Flash On, Flash On with Red-eye and Wireless.

The camera can pop up the flash in auto shooting modes.

Flash intensity can be adjusted in a range from -2.0 to +1.0, in either 1/2 or 1/3 EV increments. There’s no user-selectable slow sync option, but according to Pentax, the camera will automatically employ a slower shutter speed when shooting dark scenes in shutter-priority and Night Scene Portrait modes (useful for exposing both the foreground subject and background in poorly lit condtions). Maximum flash sync speed is 1/180 second.

The Pentax K2000 is sold in two kits, one of which (the one we used) includes the black camera body and 18-55mm lens plus the AF200FG external flash, which lists for $150 (Amazon has it priced at $89). This sounds a bit juicier than it is in practice, though, because the AF200FG has a fixed-position head. No swivel, no tilt, no bounce, not a lot of usefulness. While the AF200FG does provide additional light intensity and a higher firing position above the lens, you’ll still have to invest in a more upscale model (the AF540FGZ or AF360FGZ) if you want high-speed flash sync or a true autofocus assist illuminator.

By default, you can’t take a photo while the flash is charging, though this can be overridden in the custom menu.

Battery (5.00)

The K2000 is powered by four AA batteries, unusual for an SLR (most of the AA-powered models we’ve seen lately have been point-and-shoot ultrazooms). The AA solution means you can leave the charger home when you take your camera on the road, find inexpensive replacements anywhere you wander, and pick up rechargeables for a modest sum if you like. Pentax says you’ll get 1650 shots without flash per set of AA lithium batteries, 1100 with high-capacity NiMH batteries and 360 with alkalines. If you use the flash 50% of the time, those figures drop to 1000, 640 and 260 respectively. Considering the fact that most Lithium-ion rechargeables shipped with SLRs are good for about 800 shots on a good day, we’re happy to go the NiMH route with a set of lithium AAs as a backup.

An optional AC adapter is available (K-AC84), but it isn’t one of those elegant deals where there’s a dedicated DC input port on the camera and you just plug it in. Instead, the power adapter has a connector shaped like two AA batteries, which gets inserted into the battery compartment, with a cable snaked out of the camera via a small hatch ordinarily covered by a removable rubber door. All things considered, we’ll stick with rechargeables.

We’re OK with AA for an SLR — you can always find power and can leave the charger at home.

Shooting Modes (10.50)

In addition to the usual shooting modes, the Pentax K2000 provides a Sensitivity Priority mode based on user-selected ISO.

Shooting Modes
	Auto Picture The camera attempts to match the subject to one of five scene modes: Portrait, Landscape, Macro, Moving Ojbect and Night Scene Portrait. The user can still set flash options, image size and quality, ISO and choose manual or auto focus.
	Program Auto Exposure Mode The camera sets shutter speed and aperture automatically, and leaves all other camera settings to the user. By default, program shift is turned off, but after changing a custom setting, the shutter speed/aperture settings can be shifted in tandem, maintaining the same overall exposure, but turning the e-dial.
	Sensitivity Priority This is basically Program mode with a settings adjustment difference. In Sensitivity Priority mode, turning the control dial changes ISO settings. The camera then sets aperture and shutter speed, as in program mode. You can also adjust ISO while in Program mode, but Sensitivity Priority makes changes much speedier than going through the menu system.
	Shutter Priority You choose the shutter speed using the control dial, the camera selects an appropriate aperture value for the shooting conditions. Tv stands for Time Value, BTW.
	Aperture Priority You choose the aperture value, the camera selects an appropriate shutter speed based on the shooting conditions.
	Manual Both aperture value and shutter speed are set manually. The control dial changes the shutter speed by default; holding the AV/+/- button while turning the dial adjusts aperture value.

There are five Scene Modes on the mode dial as well: portrait, landscape, macro, fast action and night portrait, which are discussed below. In addition, the final dial position turns off the flash and leaves the camera in Auto Pict mode. This can also be accomplished by pressing the flash button on the back of the camera  and adjusting the setting, but the mode dial option is faster, as long as you’re happy shooting in Auto.

Handling (7.00)

The Pentax K2000 is a small but substantial handful. At 18.5 oz. (524g) without a lens, it doesn’t have the featherweight feel of the Canon Rebel XS or XSi, which is fine with us: a little extra heft helps the camera set well in your hand, yet it’s still nearly half a pound lighter than the Canon 50D. The body measures 4.8 x 2.7 x 3.6 inches (122 x 67 x 91mm).

As for maneuverability, the camera would be a more comfortable fit for someone with smaller mitts than this reviewer. The grip is small, not very deep and relatively narrow. This leaves plenty of room for your fingers between the grip and the lens, but it can also create an uncomfortable gap between your palm and the camera body while shooting, which makes balance more difficult. It isn’t a dealbreaker, but it’s not ideal either.

On the plus side, the shutter is nicely positioned on an angled platform up front,where it falls naturally under your index finger. The smooth plastic thumb rest on the back could use some texture, but it’s substantial enough and in the right spot to counterbalance the camera weight effectively.

Working with the controls is comfortable for the most part, though there is some room for improvement. It’s a little too easy to accidentally turn the mode dial; we found ourselves shooting in Sensitivity Value mode instead of Shutter-Priority mode more than once. The buttons could also use a bit more click and travel when depressed, and we would have given the Menu button the top position in the four-button Playback/Info/Menu/Erase line-up, to make it accessible more quickly while shooting. The control dial is in a nice spot, next to your thumb but far enough away to avoid accidental adjustments.

Overall, we found shooting with the K2000 comfortable, even with big hands, and would particularly recommend it to those with daintier digits.

Performance
The most notable performance difference between these two cameras is the category where only one performs at all: the Nikon D90 is one of a handful of SLRs that offer video recording capability. The D90 shoots at the lower-res high-definition standard of 720p, and while we weren’t blown away with the video recording quality, for some potential buyers the option to shoot high-quality stills and acceptable-quality video with one device will be a deciding factor. When it comes to straight still shooting, the Pentax holds its own in several key performance categories, with near-identical scores for both cameras in resolution and dynamic range, and superior white balance results, though the Nikon holds a clear edge when it comes to color accuracy and long exposure shooting.

Components
The Nikon D90 is a higher-resolution camera, at 12.3 megapixels versus 10.2 megapixels for the Pentax, though they came in quite close in our image sharpness testing. The Nikon LCD screen is far superior, a 3-inch 921,000-dot LCD that clearly outclasses the run-of-the-mill 2.7-inch, 230,000-dot screen on the K2000. Appropriately enough for a camera with video capability, the Nikon D90 has HDMI output for high-res connection to an HDTV, a useful feature for photo viewing too. Pentax has a single proprietary port for both USB and video output, and doesn’t include a video cable, which feels overly frugal. The D90 offers Live View mode, which the Pentax lacks. And while there is a respectable selection of lenses available for the K2000, it pales beside the optical cornucopia of the Nikon system.

Handling
We are impressed with the build quality of the Pentax K2000 considering its low price, though the plastic lens mount is off-putting. The D90 body feel significantly sturdier, and there’s no question that the Nikon lens is a higher-quality piece of equipment, though you do pay a price in portability if you go Nikon here: the D90 is noticeably larger and heavier, particularly with the lens mounted. And while the grip on the Pentax is a bit smaller, it’s also rubberized, an improvement over the textured plastic on the D90.

Controls
While the Pentax impressed us with the level of control and customization built into a very affordable SLR, the D90 is in another class in this category. The ISO range extends further (to ISO 6400), white balance setting options are more precise, and the dynamic range optimization system offers four levels of intensity versus the Pentax system’s “on” or “off.” The D90 has two control wheels, front and back, versus the single “e-dial” on the Pentax, a factor for those who like to shoot in manual mode, and includes a depth of field preview function that was left off the K2000.

	Conclusion
While price isn’t a factor in our testing procedures, that doesn’t mean we don’t appreciate a solid value when we see one, and that’s very much the case with the Pentax K2000. It incorporates ease-of-use features such as sophisticated autoexposure systems and lots of scene presets with enough manual-control and customization options to please more sophisticated shooters. There was no performance test that fell below the level of acceptable image quality. The only area where we’d hestitate to shoot with the K2000 would be fast action, given the relatively slow burst rate and so-so autofocus speed. We were pleasantly surprised at how well the body is built, especially after working with the relatively insubstantial (though photographically fine) Canon Rebel XS, which is priced about the same as the Pentax. If you value Live View shooting, this is not your camera, but given the slow focus performance of Live View on most SLRs, we rarely use it anyway outside of still life shots. And while there are more lenses out there for Canon and Nikon bodies, you certainly won’t have any problem finding a variety of good choices for the Pentax if and when you want to expand your shooting arsenal. Bottom line: a fine camera, with solid fundamentals at a pleasingly affordable price. Performance: The Pentax K2000 proved itself competitive in key image quality areas against several more expensive cameras, particularly when it comes to image noise and dynamic range. Color accuracy was lower than we’d like, but this is a measure of accuracy, not beauty, and the images we shot in the field, under a variety of lighting conditions, came out well. Components: The quality of the camera construction impressed us, with the exception of a plastic mount on the kit lens (yes, other inexpensive lenses have plastic mounts too, but the bayonet design of the Pentax mount makes us more sensitive to its durability). The LCD and optical viewfinder are both adequate, though nothing special. As for the use of AA batteries when most of the SLR world goes with lithium ion rechargeables, we found a set of inexpensive nickel metal hydride rechargeables held out for long shooting sessions, and if we ran out of juice, finding a fresh power source was a lot easier than trying to charge a lithium ion battery on the go. Handling: The Pentax K2000 body is quite compact, better suited to those with small hands but not so small that your large-pawed reviewer found it unpleasant to work with. The rubberized grip is a nice feature when most inexpensive cameras offer textured plastic instead. The main menu system is slightly confusing but the basics are easy enough to find, and the rear LCD control panel offers quick access to key shooting settings. As for the built-in help system, it’s better than nothing, but we’d be far more enthusiastic about this feature if it was available within the menu system. Controls: The button and dial layout are straightforward and uncluttered, though we would have liked the buttons to stick out further from the camera body; it’s difficult to feel your way around the controls without looking, or if you’re shooting at night. The white balance system works well, and allows fine-tuning with an interactive preview to display the effect of settings changes. We would like to have seen a depth of field preview function, but the intended audience probably won’t know it’s missing. Pentax K2000 Specs Type DSLR Price 699.99 Length 4.80 Width 2.70 Height 3.60 Weight 20.80 Mega Pixels 10.75 Effective Pixels 10.20 Sensor Type Interline interlace CCD Image Size 3872×2592 Aspect Ratio 3:2 Color Filter System primary color filter IR Cut Low Pass Filter Unknown Media SD, SDHC Image Format RAW PEF/DNG, JPG (EXIF 2.21 File Size 10M to 2M Compression Best, Better, Good Lens Mount PENTAX KAF2 mount Compatible Lenses Pentax lenses Viewfinder Penta-Mirror Diopter Adjustment -2.5-1.5 Frame Coverage 96% Magnification 0.85x LCD 2.7” TFT color LCD monitor, 230,000 dots Auto Focus Type TTL phase-matching 5 point wide autofocus system Focusing Modes AF Auto, AF Single (w/ focus lock), AF Continuous, Manual Focusing Points 5 point AF Assist Illuminator No Metering Modes Multi-segment, center weighted, spot Shutter Type Electronically controlled, vertical run, focal plane shutter Shutter Speed 1/4000 to 30 sec, bulb available Self Timer 12 sec., 2 sec. Modes Auto Picture (Portrait, Night Portrait, Landscape, Macro, Action), Picture (Portrait, Landscape, Macro, Action, Night Scene Portrait, Standard Flash Off), Scene (Night Scene, Surf & Snow, Food, Sunset, Kids, Pet, Candlelight, Museum, Stage Lighting [2M JP Speed Yes Burst Yes Automatic Modes Auto Picture (Portrait, Night Portrait, Landscape, Macro, Action), Picture (Portrait, Landscape, Macro, Action, Night Scene Portrait, Standard Flash Off), Scene (Night Scene, Surf & Snow, Food, Sunset, Kids, Pet, Candlelight, Museum, Stage Lighting [2M JP Exposure Compensation +/- 2 EV (1/2 or 1/3 steps) Bracketing 3 frames, up to +/- 1.5 (1/2 steps) or +/- 1.0 (1/3 steps) Built in Flash Retractable P-TTL auto/manual popup flash Flash Range 28mm wide angle (equivalent to 35mm) Sync Contact hot shoe Flash Exposure Compensation -2 to 1 EV in 1/2 steps Resolution 10M (3872×2592), 6M (3008×2000), 2M (1824×1216); ISO Sensitivity 100-3200 ISO (1, 1/2, 1/3 steps) White Balance Auto, Daylight, Shade, Cloudy, Fluorescent (D, N, W), Tungsten, Flash; Manual mode(s) Playback Options One shot, index (4, 9, or 16 thumbnails, select & delete available), magnification (quick zoom available), image comparison, image rotation, folder view, calendar, slideshow, histogram, bright/dark indication, resize, trimming, DPOF, digital filter, RAW t Direct Printing Yes Video Output Yes Battery Power Source 4xAA Intro Date Nov 2008 Storage Type SD/SDHC LCD Pixels 230000 Resolution Maximum 1824×1216 Resolution Minimum 3872×2592 Ratings Raw Weight Color 12.86 9 Movie Modes 0.00 1 Long Exposure 8.44 4 Auto White Balance 17.18 4 Custom White Balance 10.47 2 Chromatic Abberation 8.02 3 Sharpness 11.25 6 Dynamic Range 8.62 6 Image Stabilization 4.64 5 Noise 6.50 9 Movie Color 0.00 3 Movie Resolution 0.00 2 Movie Motion 0.00 3 Startup to First Shot 9.30 2 Shot to Shot 2.91 3 Color Modes 4.00 1 White Balance Features 8.75 0.5 Picture Options 8.65 0.5 ISO Features 5.50 1.5 Color Other Features 0.00 0.5 Resolution Other Features 0.00 0.5 Noise Other Features 0.00 0.5 Drive and Burst Modes 5.75 1 Movie Other 0.00 0.5 Sensor 2.75 1 Viewfinder 6.75 1.5 LCD 4.40 2 Flash 7.25 1 Lens Mount 7.75 1.5 Battery 5.00 1 Memory 3.00 1 Jacks, Ports and Plugs 1.50 1 Hardware Other Features 0.00 0.5 Handling 7.00 2 Controls 8.25 2 Menu 6.00 2 Manual 7.25 1 Design & Handling Other 0.00 0.5 Shooting Modes 10.50 1 Live View 0.00 2 Scene Modes 7.00 0.5 Picture Effects 6.00 0.5 Focus 10.25 1.5 Exposure 4.00 1 Metering 6.00 1 DOF Preview 0.50 0.5 Shutter Speed 10.00 1 Self Timer 3.00 1 Controls Other Features 0.00 0.5 Playback Mode 10.25 1 In-camera Editing 5.25 0.5 Software 4.00 0.5 Direct Print Features 2.75 0.5 Playback Other Features 0.00 0.5 Total (weighted) 689.85 You can read the whole review at: http://www.digitalcamerainfo.com/content/Pentax-K2000-Digital-Camera-Review-20431.htm Please, support me by buying from my affiliates. Thank you Kamil Wawrzyszko

The smc DA 15mm F4 ED AL Limited is Pentax’s latest lens, which was shown in prototype form at Photokina 2008 and formally introduced in March 2009. It’s a rare beast indeed: a wide angle fixed focal length (‘prime’) lens that is purpose-designed for APS-C format digital SLRs. The 15mm focal length gives an angle of view equivalent to a 22.5mm lens on the 35mm format; in essence, this lens is the modern equivalent of old favourites such as the 24mm F2.8 or the 21mm F3.5. The ‘Limited’ tag denotes premium construction, with the lens barrel made entirely from high-grade aluminium, which comes as a refreshing change from the engineering plastics used almost universally by other manufacturers.

As a fixed focal length lens, the 15mm is much smaller and lighter than zooms with a similar angle of view, and requires rather simpler optics as well. The formula uses 8 elements in 6 groups, including one hybrid aspherical element and one extra-low dispersion (ED) glass element, which combine to minimize distortion and chromatic aberrations. Other key attractions of the design are the ‘quick shift’ focus system, which allows manual adjustment even when the camera is set to autofocus mode, and a clever built-in sliding petal-shaped hood.

In a market dominated by identikit zooms, it’s certainly refreshing to see Pentax offering a genuine alternative, and catering to users who value the advantages of prime lenses over the undoubted flexibility of zooms. However the rapid advance in computer-aided lens design, coupled with manufacturing technologies such as glass-moulding for the inexpensive mass-production of aspheric elements, means that the once-yawning gulf in image quality between primes and zooms has narrowed considerably over the past decade. So the question is, does the 15mm F4 still have enough on offer to make any practical sense?

Headline features

• 15mm wideangle focal length, F4 maximum aperture
• ‘Quick Shift’ system allows manual adjustment of focus in AF mode
• Built-in sliding petal-shaped lens hood
• High quality aluminium construction

The 15mm F4 is a member of Pentax’s family of ‘Limited’ primes, which are unique amongst mainstream autofocus lenses in having a barrel sculpted entirely from high grade aluminium. Build quality is, in a word, superb, with fine engineering in every detail, complemented by markings which are engraved into the barrel as opposed to simply painted on. With its jewel-like construction, this is a lens which will certainly appeal to traditionalist photographers brought up on good old-fashioned manual focus SLRs and their all-metal primes.

The most unusual feature of the design is the built-in petal type hood, which retracts by sliding back into the lens body. While sliding hoods aren’t anything new, they are generally seen on larger lenses (normally telephotos) and tend to be simple cylinders in shape; managing to squeeze one into a body this small is an impressive feat of design and engineering.

	The lens mount is Pentax’s standard KAF type, using a mixture of electronic and mechanical connections to interface with the camera.  To mount the lens, align the red dot with that on the camera body, and twist clockwise. The black metal lever controls the aperture, and autofocus is driven from the camera body using a screw coupler; three and a half turns are required to travel from infinity to closest focus.
	The filter thread is 49mm and does not rotate on autofocus, which is good for filter users. In this view that unique petal-shaped sliding lens hood is shown fully retracted. However it still protrudes past the filter thread, which may make use of square filter systems (such as Cokin or Lee) rather problematic. Unscrewing polarizers can also be quite difficult, as there’s limited space to grip them.
	Here’s that very clever lens hood fully extended. It has slight ridges at the front that act as grips, making it easy to slide in and out. The movement is smooth, adding to the overall impression of precision engineering, and the inside is lined with black felt to minimize the reflection of stray light into the lens.
	The lens can be used with normal thickness (as opposed to slim) polarizers without vignetting, making for a far more economical solution than the slimline 77mm filters required with most wideangle zooms. As can be seen here, though, you have no chance of adjusting the filter with the lens hood extended. Get used to retracting the hood, rotating the filter, then extending the hood again.
	The focus ring has a 5mm wide grip, machined directly into the aluminium. It rotates 80 degrees anticlockwise from infinity to 0.18m, with a super-smooth action. Pentax’s ‘quick shift’ manual focus system allows you to tweak focus manually even which the camera is set to AF.
	Pentax has provided a proper distance and depth of field scale, with the markings engraved into the lens barrel rather than simply painted on. This (in principle at least) allows you to use hyperfocal or zone focus techniques very simply, great for street or landscape photography, for example.

The Pentax 15mm F4 performs quite competently in our studio tests. However like the Sigma 10-20mm F4-5.6 we tested recently, it shows distinct curvature of field, which causes problems with our (flat-field) chart tests at the shooting distance used (approx 2m). As with the Sigma, we have chosen to present data that is technically slightly rear-focused, and therefore gives a better impressions of the edge and corner sharpness at the expense of the centre (this data is also most representative of the results obtained when using the camera’s autofocus). Our test sample was also slightly decentered, giving marginally softer results on the right side of frame.

Compared to the Sigma 10-20mm F4-5.6 EX DC HSM (at 14mm), the 15mm F4 comes out on top; it’s a hair sharper, and has lower distortion and falloff. Unfortunately it doesn’t come out so well against the excellent Tokina AT-X PRO SD 12-24mm F4 (IF) DX, which we’d expect to perform near-identically to Pentax’s own smc DA 12-24mm F4 ED AL (IF) – in this case the zoom is sharper, and has lower falloff and equally low distortion, although it does show more chromatic aberration.

Chromatic aberration

Lateral chromatic aberration is visible in many real-world situations, taking the form of red/cyan fringing which is most visible on high contrast edges towards the corners of the frame. The samples below show how this appears in real-life, and how effectively it can be removed in post-processing. In this case, we’ve used Adobe Camera RAW v4.6, with a value of -20 applied to the ‘Fix red/cyan fringe’ slider in the ‘Lens Corrections’ tab. This has essentially eliminated the red component of the CA, leaving just moderate (and visually less disturbing) blue/yellow fringing in the extreme corners of the frame.

• Compact and lightweight
• High quality aluminium construction
• Quick shift manual focus system
• Built-in sliding hood (but see below)
• Good flare resistance
• Almost no distortion
• Small 49mm thread, doesn’t require slim filters

• Rather soft at F4 – F5.6
• Hood design causes problems with filter use (particularly square systems)

Overall conclusion

The Pentax smc DA 15mm F4 ED AL Limited is a unique lens in the current market, a small, lightweight wideangle prime for APS-C cameras. And let’s make it clear from the outset that Pentax should be applauded for producing such a lens, to provide a genuine alternative to the wideangle zooms which are the only option in other manufacturers’ lineups. This is indeed typical of the company’s attitude towards primes in general; it makes arguably the best APS-C optimized set currently on the market, which counts as something of a selling point for the K system as a whole.

The 15mm is not a bad performer, either. Chromatic aberration is reasonably under control (and easy to correct if necessary), falloff is low at just 1.3 stops wide open, and rectilinear distortion is essentially absent. Also important in real-world shooting is the fact that the lens is very resistant to flare when shooting into the light, an especially desirable characteristic for a wideangle optic. Unfortunately though it’s rather soft wide open, and even when stopped down is never breathtakingly sharp in the fashion we’d hope for from a premium prime. This is a little disappointing, especially considering the price and relatively slow maximum aperture; but then again you rarely have to shoot a lens this wide at F4 anyway (especially with the in-body stabilization in all current and recent Pentax DSLRs).

One positive aspect not to be overlooked though is Pentax’s signature ‘Limited’ build quality, which is excellent. The machined aluminium barrel, engraved markings and smooth focus ring may have no effect on the final image, but they certainly make the lens a more desirable object in its own right, and one which is a pleasure to use. The sliding lens hood, of course, will have a genuinely positive impact on image quality, and the fact that it’s built-in makes it much more likely to be used as a matter of course. Thankfully the metal construction doesn’t result in excess weight, and the lens is eminently portable, making it ideal if you don’t want to deal with the bulk of a wideangle zoom.

There are some issues with filter usage, which is something of a double-edged sword. On the plus side, polarizer fans can use standard 49mm filters, rather than the 77mm slimline types required by most wideangle zooms. This can easily amount to $100 difference in price, which is not to be overlooked. However filters can have something of a tendency to bind in place on the lens (presumably due to its aluminium thread), at which point removing them can become a frustrating battle, as the retracting hood impedes your grip. If you do use a polarizer you’ll also find yourself spending a lot of time sliding the hood to and fro, to gain access to the filter and adjust its angle. The other problem is that the hood protrudes past the thread when fully retracted, which will cause problems with square filter systems and therefore neutral density gradients – the other most useful type when shooting with wideangle lenses.

The real problem for the 15mm F4, though, lies in the competition, and specifically Pentax’s own 12-24mm F4 zoom. This has much in common optically with the Tokina AT-X PRO SD 12-24mm F4 (IF) ED, which we tested recently and found to be a superior performer in almost all regards. It’s simply much sharper than the 15mm F4, especially wide open, and exhibits lower falloff and equally low distortion (although it does suffer more from chromatic aberration). It’s not often a zoom lens can outgun a prime in terms of image quality, but that certainly seems to be the case here, and by a surprising margin too. At current prices at least you also pay relatively little extra for all the flexibility of the zoom (but do bear in mind the 12-24mm is a well-established product, and the 15mm brand new, so its price is likely to fall over time).

So overall we have a lens which is difficult to categorize. Its very uniqueness makes it desirable – if you want something a bit wider than the 18-55mm kit lens, but without the bulk of a wideangle zoom, it’s your only choice. Like all of Pentax’s Limited series primes, it’s also a finely crafted piece of kit which is a delight to use – a somewhat frivolous reason to choose one, perhaps, although still perfectly valid in its own way. Shot carefully stopped-down to its sweet spot, it also delivers very good but not outstanding image quality. So if your priorities lie in keeping your kit small, light and discreet, it’s a great option, but for most users we can’t help but feel that a wideangle zoom still makes more sense. Ultimately when compared to the alternatives, the 15mm F4 falls just short of offering enough of the expected advantages of a prime (smaller, faster, sharper, and cheaper) to earn our highest recommendation.

Recommended

The full review can be found at www.DPReview.com.

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Kamil Wawrzyszko

The power of PENTAX!!!